Dear Prakash Pavatikar,
 
The rulers of the Vijayanagar Empire were great patrons of arts. Young female dancers were given intensive training during Vijayanagar kingdom.  From the accounts of the Portuguese traveler Domingo Paes, carefully evaluating the karanas of dancing figures found among the ruins of Vijayanagar and also considering the fact that many Brahmin Bhagavata families migrated to Tanjore after the fall of Vijaynagara empire, we should assume that the classical dance form prevalent during 1350 to 1400 AD was very much similar to present day Kuchipudi dance. 
 
The principal language was Kannada but Telugu, Marathi, Braj and Sanskrit were also used in musical compositions. Popular instruments were tanpura, veena and mridangam.
 
With best wishes
Mrinalini V Sarabhai

Dear Gauri Kashelikar,
 
There are multiple elements which distinguish each dance form and the costume is one among them. Any deviation from the traditionally followed pattern falls in the category of ‘contemporary.’  We can call them xyz based on Bharatanatyam / Kuchipudi / Kathakali style. 
 
Change, if done with complete knowledge, is inevitable in any art form.
 
With best wishes
Mrinalini V Sarabhai

Dear Anand Hari,
 
Good to know about your passion.  Follow the voice of your heart.  Footwork is inevitable in any form of dance. But you can try the abhinaya aspect of Kathakali or Koodiyattam to satisfy your passion.   
 
With best wishes
 Mrinalini V Sarabhai

Dear Vidya Bangera
 
Children here at Darpana start at six.  We take utmost care not to overburden the students as far as the learning of a classical dance form like Bharatanatyam is concerned.  In order to evoke interest, let your child grow and understand the art form and decide herself.  Don't force your child to do this or that. Focus and interest naturally follow if she finds it her passion.
 
It is not necessary but traditional to perform the Arangetram to introduce a child to the stage.
 
Wish you good luck
Mrinalini V. Sarabhai

Dear Smrithi,
 
We do not have a full upload of Meera.  Excerpts of Mallika’s version of this performance is available on Youtube
http://www.youtube.com/watch?v=jljABROoIRk
 
With best wishes
Mrinalini V Sarabhai

Dear Ashita

Darpana follows the elements of Pandanallur style of Bharatanatyam.  This style is very strong in all the adavus, taught by my Guru Sri Meenakshi Sundaram Pillai in Pandanallur.  I also learnt abhinaya from Vidwan Ellappa.  With my personal inputs, I expanded the form and the body to fit larger stages and larger audiences. So now there is a Darpana style. And that is what I and all of us here learn and perform.

With best wishes
Mrinalini Sarabhai

Dear Vasanti Joshi

Both are correct.  In Tamilnadu, it is Arangetram or Arangetral and in north India it is Rangapravesh.  Regions may change but all have the same connotation and denote the first appearance of a performing art student on stage.  In Tamil, Arang means stage and Etral or Ettram mean to climb.

Yes, in an Arangetram only traditional Margam is performed. Sometimes, in the Padams there is a variety according the choice of the dancer.

With best wishes
Mrinalini Sarabhai

Dear 'disciple'

I have referred the first part of your question to a senior faculty of Performing Arts in a prominent performing arts college (under Gujarat University) in Ahmedabad and his reply is given below:

"With regard to a PhD in Bharata Natyam the basic criteria as per UGC norms is that you should have cleared your NET (National Eligibility Test) which you can appear for after your Masters is complete, by filling the form online on the UGC portal. Some Universities also accept if you have done your M.Phil.

Now there is a general entrance test for applying for PhD. The test deals with all subjects, not necessarily performing arts.

Once you have passed the test, you have to register in a University that has the provision to do a PhD in Bharata Natyam. Not all Universities have the provision. Once you register you have to submit a synopsis on which you are planning to do your Phd. Your synopsis goes to the Board of Studies Department in the University. They will decide a guide for you as per the subject you have chosen. For six months you have to work under that Guide and then prepare a note on the methodology of the final subject. The Guide could change the subject as per their discretion.

Once this is done and approved by the department you can register with the University and pay up your fees to begin your Phd."

In a changing scenario, I suggest you do a Phd if you are pursuing a career out of it and also to have the theoretical knowledge.  It is best to work with a guru directly for practical knowledge of Bharatanatayam and it is absolutely necessary.

Personally, I have had the fortunate chance to study with the greatest of gurus.  While the guru – shishya relationship was there, the gurus gave me much affection as they felt that I had come to the art of nritta through love of it and not because I was born into a nattuvanar’s family.

With best wishes,
Mrinalini Sarabhai

Dear L,

 1) Practice the adavus for at least one hour every day.  When it comes to the items, you will have to take more time.  There is no limit to the time you practice, as ultimately, it depends on the individual.

2) You can’t learn in frustration, so stop worrying about it.  Be positive and go on with your practice.  Over a period, enthusiasm would take the place of frustration provided you work hard.

3) Don't worry about the arangetram.  Though we cannot prevent arangetrams from being expensive, we have a choice in our own performances.  If you have a space in your home, invite a few special friends and do your arangetram. I believe that if the spiritual aspect is emphasized, everything else becomes immaterial.

Best wishes for a meaningful New Year 2012
Mrinalini V Sarabhai

Dear Gauri Kashelikar
 
From the great tree of traditional knowledge and practice, came the many forms of the dance and drama techniques of India. India preserved the heritage and the classical cultures remained uncharged through thousands of years.  The sampradayas (the tradition taught by guru to shishya through the centuries) have been the most important aspect of learning.
 
Bharata and all writers emphasize learning can only be done through gurus. ‘To perform and practice, a student must study texts and the traditions as taught by learned gurus,’ says the Abhinaya Darpana of Nandikeshwara. The texts are for those who wish to co-relate the past experience with the present tradition.
 
The post independent era witnessed mushrooming of dance schools and universities where classical dance formed the part of a curriculum and taught in classrooms like other subjects.  With the arrival of computers and internet, another vista opened in e-learning.  Today, more and more teaching is being done with the teacher having replaced guru.  It has become more like a skill to be taught rather than knowledge to be acquired.
 
With best wishes
Mrinalini V Sarabhai

Dear Uttara,

1. The concept of Namarupa (also Naama-roopa) is a part of the advaita philosophy and Sankhya Sastra  and I do not think it has got anything to do with dance practice and choreography.

The basis of advaita is the Mantra ‘Brahma Satyam Jagat Midhya,’ which means Brahma is the reality, the universe is an illusion. Brahma is always in a state of adulation and static as well. In this process, the primary impulse is the concept of Nama (name or shabda), and the secondary is the Rupa, the optical vision or shape. The whole world is objectivity in this manner and is composed of Nama and Rupa. This conceptual process postulates the presence of a performer, a ‘Kartru’ and his / her ‘Karma,’ the action. The understanding (conceptual) process goes ahead further to a decisive process permeated by Chitta, the subconscious mind and imbibes Aatma-bhava, the sense of selfhood. These four stages are called Antahkarana, the highest and the most abstract part of the mind. When the consciousness passes to thuriya, the transcendent state, the whole universe process is felt as Maya or illusion. This is the inspired stage of a yogi.

 2. Though Antahkarana is a projection of Nama and Rupa, it has no clear implication as far as dance is concerned.  However a dancer who performs with deep devotion and concentration may perhaps experience this state of inspiration.

3. Drishti promotes Vyabhichari - Sanchari Bhava (transitory state) with all its ramifications.  There are modern interpretations giving other dimension to Drishti but I am not quite convinced by them.

With best wishes
Mrinalini V Sarabhai

Dear Lucinda,

Since plantar fasciitis demonstrates degenerative changes in some cases, it is better not to apply pressure on your heels while dancing.  As such in Bharatanatyam, one doesn’t have to apply pressure entirely on the heels.  So correct your natta adavu and continue practicing.

Warm Diwali greetings!
Mrinalini V Sarabhai

Dear Gauri Kashelikar
 
Most classical dance forms of India (except Kathak, which emanated from royal courts), were dedicated to temples and evolved as expressions of devotion.  Rituals of worship kept alive these art forms, till in a cultural revival, when the dance came out of the temples into the theatres of today.
 
Modern influence in all art usually stems from a deep desire of man to express his individual thoughts to the human race. Through the centuries great minds have been reforming and giving new thought and emphasis to each dance form. Bharata, Nandikeshwara, Kohala, Dhananjaya, so many names arise in our minds when we think of the vast number of scholars and artists in ancient literature.
 
If I try to elaborate on changes that took place over the years, it would take many pages. There are many good books available in the market by reputed dance critics and writers.  My recommendation is Enakshi Bhavnani’s book ‘The Dance in India’ which I think would give you a deep insight on this. 
 
With best wishes
Mrinalini Sarabhai

Dear Ms. Phorum Pandya

We generally do not do western workouts at Darpana.  It is customary in Darpana for any dancer / artist to start the day with a yoga session and some warm up exercises.  Martial art of Kerala - Kalaripayattu has some excellent characteristics go well with contemporary creations and warm up sessions.  Also Kathakali which has rigid codes and a preciseness of training, uses the basic training exercises from Kalaripayattu.  I recommend you doing your research on Kalari.

Sincerely
Mrinalini V Sarabhai

Dear Aparna,

Children here at Darpana starts at six. A lot depends on the teacher being careful not to overtax the child. In the beginning, only one hour training per day should be enough and I don’t think it will do any harm.

With best wishes
Mrinalini Sarabhai

Dear Sarita,

Every dance form has its own specific peculiarities. Do learn Bharatanatyam as you have a teacher. You can always change to Kuchipudi whenever you find a good guru.

With best wishes

Mrinalini Sarabhai

Dear Vyju Gopalan,

Choornika was originally a part of Devadasi repertoire. It is an invocation, half prose and poetry sung generally in Marathi, Tamil or Sanskrit. Similar to Shloka or Virutham of contemporary repertoire.

With best wishes
Mrinalini

Dear Amanda,

A good book on art would be appropriate.

With best wishes
Mrinalini

Dear Soumyasree,

Mettu means to stamp the heels on the ground and Tatti means to tap.
In Kuditta Mettu Adavu, both the feet are raised onto the toes with a slight jump and then strike the floor together with the heels. Whereas in Tatti Mettu Adavu, the foot strikes the floor, is raised on its toes, and beats the floor with the heels.

With best wishes
Mrinalini

Dear Sonali Amodwala,

We often do Hindi and Gujarati songs in Hindustani style for Padams. The Varnam should be in Carnatic style as it's the most important item. You can select songs you like as from Mira Bhajans, Gita Govindam etc. Also legendary Swati Tirunal's compositions in Hindi would be a good choice.

The Gujarati padams we normally do are 'Hey Chandramauli, Jal Kamal, Hun Shu Janu' etc.

With best wishes
Mrinalini Sarabhai

Dear Deepak Dongre,

Any kind of dance form is beneficial for health if practiced properly.

Proper training does not injure the feet. We have had more than 25,000 students and to my knowledge, no one has been injured.

The teaching should be correct, ensuring right posture.

With best wishes
Mrinalini Sarabhai

Dear Aparna,

First of all let me correct you on the spelling of Bharatanatyam. The dance is Bharatanatyam (acronym of Bhava, Raga and Tala). If you miss an ‘a’ in between, it becomes the dance of India - Bharat Natyam!

a) Since you do not want to pursue a course from any institution or university, it is better to identify a Guru who will help you out in covering the aspects of Abhinaya. There are many good teachers in Tanjavur. All the major dance institutions conduct workshops. You can find out more details from their respective websites.

b) Narthaki.com is a very good platform to share your views on dance. Also you can contribute to the leading art magazines. Regarding the forums, don’t miss Sri Krishna Gana Sabha’s 30th Naatya Kala Conference scheduled from 26th to 31st December 2010. Similar events are frequent in Chennai where you can meet with people of similar interest and share your views. Also, you can write to leading art institutions and universities to have an audience on dance / art topics.

Wish you good luck.
Mrinalini Sarabhai

Dear Amalu,

If you are looking for a university approved course, there are many Universities. SNDT Women's University, Annamalai, Kerala, Sourashtra etc. are a few among them. Indira Gandhi National Open University also has on campus full time Master's Degree Program. The details are available at http://www.ignou.ac.in/schools/sopva/110809/visual-art-pros.pdf

Nalanda Nritya Kala Mahavidyalaya - Mumbai, Darpana - Ahmedabad, Lalit Kala Kendra - Pune etc. are some of the other institutions running similar courses.

Wish you good luck.
Mrinalini Sarabhai

Dear Sridevi Ravi,

1. Each style has its distinctive characteristics. Teaching two different styles at an early age will only confuse the learner. Let your daughter stick to one particular style and do her arangetram. When she becomes more mature and able to differentiate things, surely she can go for other styles to enhance her dance vocabulary.

2. At a later stage, while doing experiments, this might help. However, as I said earlier, at an early age it will only confuse the student.

3. Rukmini Devi was instrumental in the renaissance of Bharatanatyam. Kalakshetra follows the form with its purity. Stick to one institution and its style till the arangetram, if possible.

4. Choose a well known academy. At Darpana, once a student finishes the basic training she / he is free to choose other forms like Kalari, folk etc. Students also learn to innovate and new experiments go on all the time.

5. At post graduate level, we have Nattuvangam sessions. I am sure institutions like Kalakshetra also has it.

Regards
Mrinalini Sarabhai

Dear Sumethra

Today is Women's Day and I have been speaking on the power of women since morning.

Gurus will always scold a good student which makes them practice more, be more motivated on the contrary. Don't let this affect you. It's part of the training.

With best wishes
Mrinalini Sarabhai

Dear Apoorva

Dance forms are only a part of the huge treatise Natyashastra. The authentic work on Tamil grammar 'Tholkaappiyam,' that was written in the third century BC by Tholkaapiyar mentions a lot about classical dance. So it is not proper to attribute Bharatanatyam only to Natyashastra. It is mostly Guru Shishya Parampara and the styles may change.

Regarding 'aksepa' (or 'ksepa?'), it is difficult to get a specific meaning from the word to word translation of Natyashastra. Throw ('ksepa') of the limbs are in Karanas. The style I follow is both Muthukumara Pillai’s and Meenakshi Sundaram Pillai’s. As far as my experience, there was no restriction.

Regards
Mrinalini Sarabhai

Dear Anjali Nandan

The word 'Korvai' means to thread together. In Bharatanatyam, 'Korvai' is a combination of 'Adavus' set to a particular 'Talam' and usually ends with a 'Theermanam' similar to how the beads are threaded together to make a garland. If we consider 'Adavus' as beads, 'Talam' is the thread and 'Theermanam' is the final knot we tie to finish the garland.

In the second definition of 'Korvai' related to Carnatic music, I think you have mistaken the word 'Karvai' for 'Korvai.' While 'Karvai' is a pause between musical notes, 'Korvai' is purely mathematical and sung in ‘Swara’ patterns.

Regards
Mrinalini V Sarabhai

Dear Ketan Sanghvi

As far as Padam is concerned, you can use any music without the barriers of language and style, provided it goes well with the choreography strictly based on classical Bharatanatyam adavus and mudras.

In fact, here in Darpana, I always tried to interpret Gujarati or Hindi Bhajans and songs so that the people in the audience could understand better. However I never tried 'fusion music' as I have an apprehension that it would affect classical Bharatanatyam.

All the best to your daughter's arangetram.

Regards
Mrinalini Sarabhai